PinchukArtCentre has named Latitudes as one of a number of non-profit arts organizations acting as platform partners, who will support the Prize by communicating with artists and arts professionals in their regions.
The Future Generation Art Prize is a world-wide art prize of 100,000 USD. It is open to all artists up to the age of 35. The prize is established to discover and provide long-term support for a generation of emerging artists, wherever they may live and work. The biennial Prize is distinguished by its global dimension; its focus on a young generation of artists; its open and democratic online application process; the long-term commitment of leading artists of our time; a distinguished Board, Jury and Selection Committee; an exhibition of shortlisted artists at the PinchukArtCentre in Kiev, one of the largest and most active new contemporary art institutions in Europe; and an award of 100,000 USD, to be conferred by a respected international jury.
The jurors are: Daniel Birnbaum (Sweden) — Director of the Städelschule Art Academy, Frankfurt am Main; Director of the Venice Biennale 2009 Okwui Enwezor (Nigeria) — Director of Documenta XI; Former Dean of Academic Affairs and Senior Vice President at San Francisco Art Institute Yuko Hasegawa (Japan) — Chief Curator of the Museum of Contemporary Art Tokyo (MOT); former Chief Curator of the 21st Century Museum of Contemporary Art, Kanazawa Ivo Mesquita (Brazil) — Chief Curator at the Pinacoteca do Estado de São Paulo; Curator of the 2008 São Paolo Biennial, Eckhard Schneider (Germany) — General Director of the PinchukArtCentre Robert Storr (USA) — Dean of the Yale University School of Art; Director of the Venice Biennale 2007 Ai Weiwei (China) — artist.
The application procedure opened on January 18 and will last until April 18, 2010. 20 shortlisted artists will show their work in an exhibition at the PinchukArtCentre. The jury will select one main Prize winner who will receive a total of 100,000 USD (60,000 USD as a cash award, and 40,000 USD toward the production of new work). An additional 20,000 USD will be allotted to fund artist-in-residency programs for up to five other special prize winners. Images of works by all the shortlisted artists will be posted on the PAC website, and the public will be invited to vote via the Internet for People's Choice Prize. Partner platforms (evolving list):
Production stills while filming the 1969 '12 Hours Tide Object with Correction of Perspective', in the Dutch coast near Zandvoort. The film was consequently included in Gerry Schum's Land Art TV.
Production stills, '6 Hours Tide Object with Correction of Perspective' in Maasvlakte beach, 8 February 2009. Photos: Latitudes, Paloma Polo/SKOR and Freek van Arkel.
The inaugural Portscapes project took place a year ago on Sunday 8 February with the filming of a new version of Jan Dibbets' 12 Hours Tide Object with Correction of Perspective, newly titled 6 Hours Tide Object with Correction of Perspective.
Dibbets realised the original version of this classic work on the Dutch coast near Zandvoort in February 1969 and this 'second attempt' (the artist rejects the notion of a ‘remake’) was shot forty years later to the month, in February 2009 on a beach that will disappear with the construction of Maasvlakte 2. The eight minute film was premiered in the FutureLand visitor centre every Sunday during June 2009 and was screened on loop in New York, during Latitudes' participation in the non-profit festival 'No Soul for Sale' (24–28 June).
6 Hours Tide Object... records the drawing of a trapezoid shape in the sand during low tide using a bulldozer which drives back and forth along the beach. The shape consequently appears as a rectangular ‘frame’ in the resultant film due to the angle of perspective distortion in being shot from an elevated platform. Subsequently, the incoming tide washes it away. A formalistic reflection on geometry, representational illusion and the camera-’eye’, Dibbets reasserts the freshness of this fleeting filmed action with no hint of nostalgia. Within the context of the development of Maasvlakte 2 the work allows our fresh interpretations: concerning the physical modification of Dutch coastline, or new perspectives of construction, destruction and change, for example.
Watch the 'making of' by Olaf Schuur. 6 Hours Tide Object... was produced in the context of 'Portscapes', an accumulative series of ten new commissions by initiated by the Port of Rotterdam Authority with advice and financial support from SKOR (Foundation Art and Public Space, Amsterdam) curated by Latitudes, Barcelona.
'Portscapes' will present the results of works commissioned by the Port of Rotterdam realised throughout 2009 by 10 (inter)national artists on the occasion of the beginning of the construction of Maasvlakte 2 – the 2,000-hectare land supplementation project to extend Rotterdam's port, Europe's largest seaport and industrial area. 'Portscapes' has encompassed new projects of various scales under the leitmotif itineraries and destinations – artist-led tours, film screenings, billboards and the production of film and photographic works, audio-guides, radio broadcast and field guides. + info...
The films by Rotterdam-based artists Bik van der Pol and Marjolijn Dijkman, 'Facts on the Ground' (2009–10) and 'Surviving New Land' (2009–10) respectively, will be presented for the first time coinciding with the exhibition.
Overtreders W, the designers of the exhibition, have created semi-transparent display structures for the museum’s Richard Serra Hall, using industrial materials based on the format of cargo containers.
A catalogue (€12,50) and a special-edition catalogue (€50) designed by Ben Laloua/Didier Pascal is co-published by SKOR and the Port of Rotterdam Authority on the occasion of the exhibition. The special-edition includes filmed interviews with the artists as well as the DVD of '6 Hours Tide Object with Correction of Perspective' (2009), the film produced by Jan Dibbets for 'Portscapes'. Publication available at the Museum Boijmans's shop or can be ordered via SKOR by writing to [email protected] or calling +31(0)20 672 25 25
-Redesigned and wider navigation interface with a drop down menu replacing the previous floating menu bar | Interfaz rediseñada, amplia navegación con un menú desplegable que sustituye a la barra de menú
- iPhone/Touch/Android enabled, and for the technical or typographically minded, the website now features embedded webfonts for titles! – to see these, you'll need at least Firefox 3.5; IE 4; Safari 3.1; or Chrome 3 | La nueva web es compatible con la navegación en iPhone, Touch o Android, y para los más técnicos o amantes de la tipografía hemos integrado webfonts en los títulos (para verlo necesitarás Firefox 3.5, IE 4, Safari 3.1 o Chrome 3).
Jorge Satorre's project for Portscapes had its beginnings in the eastern part of the Netherlands with a 3-tonne gneissic granite rock from the Svecofennian age, approximately 1.9 billion years ago. Following the artist’s fascination with the environmental compensation practices being instigated alongside the construction of Maasvlakte 2, his project consisted of returning the rock to where it once came from in Sweden – an act of synthetic restitution and transnational sculptural offsetting.
The boulder has now found a permanent home at the Wanås Foundation, near Knislinge in southern Sweden . The boulder was transported from Erica, in the north east of The Netherlands, to Knislinge at the beginning of January (see report on the Swedish newspaper Kristianstadsbladet).
Not insignificantly, the celebrated Land art work 'Broken Circle' (1971) by Robert Smithson, sited in a working quarry near Emmen, incorporates such a seemingly immovable boulder at its centre. Satorre’s reverse geological gesture is also reflected in the fact that much of the existing and future sea defence in the port area will be made from rock brought from Scandinavia. The artists offers an account of the process through drawings, which incorporates both actual and imagined details. One such detail depicts an imagined protest at the beginning of the boulder’s homeward journey – see post 2 October 2009.
Jorge Satorre's project was produced in the context of 'Portscapes', an accumulative series of newly commissioned projects produced in the context of the 2,000 hectare extension to the Port of Rotterdam, the project Maasvlakte 2.
Portscapes was commissioned by the Port of Rotterdam Authority with advice and support from SKOR (Foundation Art and Public Space, Amsterdam) and was curated by Latitudes. [FOOTNOTE 1] The foundation estate encompasses a medieval castle, an organic farm, and a sculpture park which since 1987 has hosted a number of permanent works by international artists.
Images: Journey and placement of the boulder from the newspaper Kristianstadsbladet; Drawings of 'The Erratic. Measuring Compensation' (2009), courtesy of the artist.
The year-long exhibition project DOMINÓ CANÍBAL will use a single venue, the 18th century convent church Sala Verónicas, over a period of twelve months. Starting with the sculptor, essayist and poet Jimmie Durham, each successive artist [Cristina Lucas (March 26th), The Bruce High Quality Foundation (May 21st – see images of their 'temporary office' for Latitudes' participation in 'No Soul for Sale'), Kendell Geers (July 9th), Tania Bruguera (September 24th),Rivane Neuenschwander (November 12th) and Francis Alÿs (December 17th)] will create his/her work based on what was created by the preceding artist, either destroying it, appropriating or reinterpreting it. Jimmie Durham's exhibition will open on Monday 25th January, and will be preceded by a conversation between him and Cuauhtémoc Medina, curator of 'Dominó Caníbal', on Friday 22 January, 6pm at CENDEAC.Below images of the artist during his recent site visits to Murcia and surroundings.
As PAC 2010 curator Cuauhtémoc Medina has stated “my starting point is the operation of the game of dominoes, which is a very widespread transcultural point of production. (...) From the ideological use of the so-called “domino effect” brings to mind the terrors of the Cold War and beyond”. Here "the creative process depends on observation and interaction with the previous moves, instead of viewing itself as the production of some unique and conclusive image." (1)
The ongoing creative process taking place in Sala Verónicas will be filmed in real time and on view at the PAC MURCIA website (www.pacmurcia.es). As with the previous PAC in 2008 (see Latitudes' posts here and here) a series of activities are running parallel to PAC 2010: a seminar organised in collaboration with CENDEAC (Centro de Documentación y Estudios Avanzados de Arte Contemporáneo), a programme of exhibitions in art galleries in the region and series residences for artists from Murcia in Europe and America.
Coinciding with this edition of PAC, the European Biennial for Contemporary Art Manifesta 8 will also take place in Murcia and open onOctober 1st. The event is curated by three collectives Alexandria Contemporary Art Forum (Egypt), Chamber of Public Secrets (Denmark, Italy, Lebanon) and Tranzit (Austria, Czech Republic, Hungary and Slovakia) (see Latitudes post here and here) with the "aim to engage with Europe’s present-day boundaries with Northern Africa and its interrelations with the Maghreb region." (2)
'Dominó Caníbal', January–December 2010, Sala Verónicas, Murcia Artists: Jimmie Durham (January 22nd) Cristina Lucas (March 26th), Bruce High Quality Foundation (May 21st), Kendell Geers (July 9th) Tania Bruguera (September 24th), Rivane Neuenschwander (November 12th) and Francis Alÿs (December 17th). Curator: Cuauhtémoc Medina Project Management: Carlos Urroz Production: PAC Murcia is an initiative of the Department of Education and Culture of the Región de Murcia through its Directorate General of Fine Art and Cultural Goods. Organiser: Department of Culture & Tourism, Region of Murcia Press & Communication: Urroz Proyectos, T + 34 915 648 856, [email protected], www.urrozproyectos.com Project website:www.pacmurcia.es
UPDATE - images of Jimmie Durham's installation. Photos: La Lobera (1) Curatorial text, available on http://www.pacmurcia.es (2) Manifesta website Images: Graphic identity of 'Dominó Caníbal', portraits of Jimmie Durham during his site visits to Murcia and surroundings and interior of Sala Verónicas (Photos: La Lobera). Courtesy PAC Murcia 2010.
"Reflexiones entorno a una figura cada vez más influyente en el mundo del arte", artículo por Teresa Sesé, La Vanguardia, 2 Enero 2010, pp. 38-39. Incluye comentarios de Cuauhtémoc Medina, Tania Pardo, Valentín Roma, Rafael Doctor, Rosa Martínez, Latitudes (Max Andrews & Mariana Cánepa Luna) y Chus Martínez.